IND 5325 Camilo Pena Color Theory and Application for the Built Environment
Contents 0.01 0.02 0.03 0.04 0.05 0.06 0.07 0.08 0.09 0.10 0.11 0.12
Color + Me Color + Designers Color + Film Color + Balance Color + Healthcare Color + Rhythm Color + Retail Color + Scale Color + My Camera Color + Hospitality Color + Workplace Color + Culture
0.01
Color + Me
My name is Camilo José Peña I was born in San ago de Cuba, Cuba. I came to Miami 4 1/2 years ago. Languages: Spanish and English Both my parents and sister are architects so it was already in my blood. I always knew I was going to study an architecture related major. When I was applying to FIU I learned about the program; I liked the idea of studying Interior Design and focusing on the architecture rather than just decora ng.
Graduate Design 2 Workplace
Things I like: I love animals I play the saxophone, the oboe and the clarinet Stamp collec on Volunteering and model building - cra s Game of Thrones #1 Fan Ne lix and listening to music I would like to travel around the world and visit old ci es an experience different cultures. Color in my life: Favorite color: Yellow
Graduate Design 1 Hospitality
Clothes: Vivid colors Interiors: Grays, metals, wood colors combined with drama c colors Dream car: Yellow Camaro with two black stripes Phone case: Silver Mirror
0.02 Color + Designers
La Casa Luis Barragan Learning Objec ves: - Understand the rela onship between design concept and the use of color. - Design a presenta on that explains informa on in an accessible way. - Design a presenta on that follows a concept and pale e. - Compile informa on gathered from dierent sources into a cohesive presenta on. - Clearly present an analysis of a designer and a project.
The architect Luis Ramiro Barragán Mor n was born in Guadalajara in Jalisco, Mexico. Barragán visited Le Corbusier and became influenced by European modernism. The buildings he produced in the years a er his return to Mexico show the typical clean lines of the Modernist movement. Barragán always used raw materials such as stone or wood. He combined them with an original and drama c use of light, both natural and ar ficial; his preference for hidden light sources gives his interiors a par cularly subtle and lyrical atmosphere.
The house “Colours that blaze in the Mexican sun have always been exuberantly featured in everyday life and rituals. These colors restore the spirits, of our people, for whose re nas supreme beauty vibrates with the more audacious values and contrasts of tropical colours, of the variegated colors of tropical plants and birds.”
Exterior - Entrance - Ves bule In the exterior Barragan used three colors o en found only in interiors. Upon entering, the visitor walks down a dark (yellow) hallway un l they suddenly encounter a pink wall, ‘the first engagement’. A dark volcanic stone stairway leads you upwards to the second level. Overly saturated colors was characteris c of Barragan’s style influenced by Mexican culture. He uses white walls to balance them.
Courtyard - Terrace The only color found in the courtyard besides the concrete and the green in the plants is the entrance (a pink door) marking the limits. His roo op daringly crops the sky by soaring walls around. He obs nately monopolized the sky par ally and he was able to have his privacy. Once again you can found the recurring pink and orange colors found throughout the house on the walls.
Living room Considered to be the only calm space in the house. Low saturated colors with warm whites and only the outside view that brings the color green inside the house. Barragán had a fascina on with animals, par cularly horses, so many relics of popular culture and symbols are found throughout this space.
“
My house is my refuge, an emo onal piece of architecture, not a cold piece of convenience. — Luis Barragán
Room of Christ - Library - Studio The library room is communicated to the workshop,a double height space with high windows, detached from the world,whose yellow painted wooden ceiling gives character to this working area where maximum concentra on was needed. Barragan balances the bright yellow with white walls and light woods. Crosses and biblical statues can be found in mul ple rooms crea ng a mythical and spiritual architecture.
“
Architecture is a art when one consciously or unconsciously creates aesthe c emo on in the atmosphere and when this environment produces well being. — Luis Barragán
Dinning room In the dinning room both light and color arrangement s muli the serenity of the placid rooms to the vivid contrast of pinks and yellows with white tones and warm wood. Furnishing on the wall as well as doors are painted pink to merge with the wall. He contrasts using deep sapphire blue vases as well as a view to the courtyard.
“
Light plays with surface and methodically chosen color, the effect draws you in to cool, private spaces that feel miles away from the chao c buzz of Mexico City. — Sunny Day Mercan le
Conclusion The architect Luis Barragan found many of his furnishings at cra markets and an que shops; together with the bold pink, yellow and lilac colors he created a style that was true to the cultural iden ty of Mexico. Also displayed by the apparent influence of religious art found throughout the house, specially his own bedroom. “His minimalist style gives reason to the significance of detail”, every aspect of the house has it's purpose and is obviously planned by the architect. He plays with light as well as the placement of the colors. Every ornament, pain ng, and photographs seem to bring out the beauty and display his affec on towards his culture and ‘like for horses’. I personally find his work to be amazing, it’s the perfect mix of minimal and colorful, a style that I find to be astonishing.
References h p://www.archdaily.com/102599/ad-cla ssics-casa-barragan-luis-barragan h p://www.sunnydaymercan le.com/blo g/2015/1/19/a-mexico-city-day-inside-casa -barragn h p://motokimokito.blogspot.com/2015/ 04/luis-barragan-tour-1415.html
0.03 Color + Film
Amelie Learning Objec ves: - Understand that each person responds to color dierently, and start to iden fy how their personal experiences inuence their response. - Know the three key concepts of color percep on. - Understand that color should be integrated into every phase of the design process. - Dis nguish between the perceptual proper es and associa ons of common colors. - Iden fy seven dis nct types of color contrast. - Be familiar with Color Marke ng Group and their importance in the ďŹ eld of consumerism.
Summary The film Amelie takes place in Paris, the city of love. Young Amelie had par cular parents that were very strict to her and wouldn’t let her go play outside due to a mistaken heart condi on. Amelie grows and becomes an awkward, shy young girl that works at a restaurant desperate to find love. One day she finds a hidden old memory box that belonged to the previous owner of the house and she decides to go look for him. A er seeing the man’s reac on (happiness) she decides to change the life of the people around her for the be er disregarding her own life, The director Jean-Pierre Jeunet used a contras ng red and green pale e throughout the film symbolizing Amelie’s curiosity and fantasy world that o en relate to her childhood and her need for love.
Scene 1 - Film intro Dark green: relaxed, growth, renewal Olive Green: hope, comfort Red: vigorous, passionate The movie starts with a dark green background and it is the first me the audience is exposed to the color red. Symbolizing Amelie’s playfulness, youthfulness, vital young mind. The color red then becomes the focal point.
Scene 2 - Market scene Bright red: excitement, passion Green: growth, nature Orange and yellows: sun, vitality, warmth The store’s bright green contrasts with the grays of the city; full of fruits and vegetables of all colors. Her bright red polka dot umbrella becomes a focal point as she uses it to cover from the rain.
Scene 3 - Bedroom scene Red: passion, beauty Gold: reflec ve, enhances details Green, different shades: youthful, freshness The color red is used to reflect Amelie’s life and mood, a vibrant character. The green found in some of the decora on works as a complimentary color. Her house reflects her inner self.
Scene 4 - Bathroom scene Yellow: wisdom, enhances concentra on Gold tones: reflec on, enhances details Wood colors: comfort of home In this scene the color yellow enhances the brightness of the space and symbolizes ‘what’s about to come’. The memory box symbolizes her lost childhood by having protec ve parents.
Blue ligh ng - mul ple scenes Red, warm colors: passion, excitement Gold: illumina on, wisdom, compassion Electric blue: relaxing, ominous, ero c The blue was needed to contrast the red push. O en used to deviate the viewer’s a en on. It relaxes the viewer’s from the overwhelming red and green. It is mostly used in ligh ng fixtures and places like the sex store or objects like Nino’s plas c bag (guy she likes), etc.
Conclusion Amelie has a very specific color pale e. It is a very warm film infused with the reds and green. The director chose those colors to create some sort of fairy tail modern Paris which symbolizes the protagonist’s inner self. A young girl looking for happiness who decides to change the life of the people around her for the be er. The reds and greens are complimentary colors and blue is o en used to refocus the viewer’s a en on from these two overwhelming colors. Amelie is always seen wearing either one of these colors in contrast to her surroundings and state of mind, red when happy and green when troubled, sad.
0.04 Color + Balance
Learning Objec ves: - Understand the dierent components of balance. - Dis nguish between symmetry, assymetry, and radial balance. - Be able to discuss how visual balance is a rela onship between the observer and the observed. - Know the types of color balance: value contrast [light and dark], hue balance [complimentary], and intensity contrast [bright and dull]. - Understand the concepts of color within the 3D environment and iden fy the horizontal and ver cal possibili es.
Balance refers to the rela onship of different hues to one another when each is perceived to be equal in perceived visual weight. Symmetry (formal balance) is the arrangement of elements on either side of an implied axis that are equally balanced and of the same shape and form. Radial balance is achieved by the equal rota on of design elements around a central axis. Types of color balance: - Value Contrast (Light/Dark) - Hue Balance (Complements) - Intensity Contrast (Bright/Dull) - Size of color area (Large/Small)
Asymmetry (or informal balance) results when elements on either side of an implied axis are equal in color weight but vary in shape and size.
Color interac on involves the contrast of light and dark values; when one value is places next to or surrounded by the other, the visual weight of the smaller of the two color areas is intensified.
Warm colors are light
Cool colors are heavy
The loca on of color within the physical environment is just as important to a balanced composi on as the selec on of color itself. The shape of interior space is divided into specific surface planes: ver cal surfaces (walls) and horizontal surfaces (wall, floors, and ceiling).
0.05 Color + Healthcare
Learning Objec ves: - Inves gate some of the different aspects of color and the ways it is perceived by people. - Describe some theories and studies regarding effects of color on the psychological, emo onal and physical health of people. - Recognize the ways color can help with safety, orienta on and naviga on in a healthcare facility. - Recognize the philosophy of Evidence Based Design for healthcare professionals. - Review psychological and physiological use of color and nature and the applica on of color theory to healing environments. - Define elements of color, hue, light reflectance and intensity and op mize selec ons for visual clarity for major areas and departments within the hospital atmosphere. - Discover the posi ve impact on the hospital environment that is achievable when incorpora ng the influences of the five senses in the design process.
Evidence-based design (EBD) prac oners employ credible data and research to influence design decisions.
3 principal goals to every healing environment: - strive to heal the pa ent - support the staff - engage the family
12 aspects of a healing environment that have the ability to be a part of the healing process: 1. Single pa ent rooms 2. Ergonomics 3. Furniture arrangement 4. Air quality 5. Windows 6. Wayfinding 7. Building layouts and zoning 8. Access to nature 9. Light – par cularly natural daylight 10. Floor materials 11. Noise control 12. Posi ve distrac on through the use of aesthe cs In general, the designer should use the following design concepts: - Create a unique atmosphere - Provide an oasis from the real world - Use a dis nc ve color pale e - Provide access to nature - Select furniture that promotes social interac on - Create small, flexible groupings - Enhance rela ve privacy Design to enhance the dining experience Our senses and sensory awareness may be vital to healing and that sensory informa on can evoke physiological responses that can range from serenity to anxiety.
0.06 Color + Rhythm
Learning Objec ves: - Discuss the concept of rhythm ... what it is, where it originates, and how it is used in design. - Dis nguish between repe on, alterna on, progression, con nua on, and radia on.
Rhythm is a natural evolu onary trait in nature that can be transferred to interior spaces and can be further emphasized with color. 5 types of rhythm: - Repe on: is the systema c orderly succession of iden cal elements (shape, line, color, form) along a define path in space. - Alterna on: occurs when two design elements are repeated in sequence similar to repe on; however, the difference is that the pa ern includes two dis nctly different elements as opposed to one element repea ng. - Progression: involves the repe on of similar elements with a con nuous change. - Con nua on or Transi on: Color con nua on refers to the placement of one or more colors throughout an interior to create a con nuous movement of the eye through the space. - Radia on: uses a concentric color arrangement instead of objects to unify design elements and create visual movement versus the tradi onal sense where it is an arrangement of objects in a radial pa ern. Tips when using rhythm and hue: - Highlight important architectural and interior elements (columns, coffered ceilings, furnishings, etc.). - Use color as a tool to signal users regarding where to look first to orient their posi on in the space (wayfinding). - Create posi ve or nega ve emo ons using colors psychology. - Organize the design elements into a composi onal whole. - Group design elements together, or isolate them completely.
0.07 Color + Retail
Kidrobot Store Learning Objec ves: - Understand how color and contrast can create focal points in a space. - Dis nguish emphasis from value, hue, textures, and shapes. - Discuss the use of color as a wayďŹ nding tool. - U lize the fact that people see color ďŹ rst and then the object.
Contents 0.01 About 0.02 Contrast of Hue 0.03 Contrast of Value 0.04 Contrast of a Design Feature 0.05 Contrast of Texture 0.06 Focal Point
About Kidrobot is a producer and retailer of designer toys, vinyl art toys and collec bles founded in 2002 by Paul Budnitz, specializing in ar st-created toys and imports from Japan, Hong Kong, and Europe. Store designed by MASH “Kidrobot needed something simple and fresh, modern yet understated for a young feel that wouldn’t over clu er their small spaces.”
638 Collins Ave Miami Beach, FL 33139
R235 G188 B0 R162 G213 B214 R97 R235 R226 R219
Contrast of hue A long narrow colored band envelopes the entrance star ng in the right side wall and throughout the ceiling. The graphic art consists of a series of le ers in a cartoon style font alterna ng opposite colors on the color wheel.
G178 G109 G149 G3
B207 B176 B159 B84
R249 G231 B107 R222 G196 B54 R83 R187 R113 R9
G170 G205 G160 G111
B145 B220 B189 B179
Contrast of value The central displays reflect the ceiling design giving the impression of fi ng. Different shades of blue and yellow are used to create a fun cartoon like pa ern.
Focal point A neon blue light strip is used to emphasize both the logo and the name of the store. It is located in both registers to highlight the space and make it easy to find.
Contrast of a design feature A consistent design feature found throughout all Kidrobot retail stores is the jumbo size best selling ďŹ gure (Dunny). The blue color is both the brand color and a contras ng piece surrounded by the white walls and neutral colors.
R118 R254 R113 R9
G77 G254 G160 G111
B49 B254 B189 B179
Contrast of texture White brick
White smooth wall
Wood flooring
The only textured surface found in the store is a white brick wall found towards the back of the store. The rest of the walls are a white smooth finish which contrast with all the colorful pa erns found throughout the store. Wood flooring is used as a warm color for the space.
0.08 Color + Scale
Learning Objec ves: - Understand that using a propor on system can provide an accurate color propor ons. - Discuss the dierence between scale and propor on. - Accept that building models to study things is an eec ve strategy. - U lize the repe on of color to unify a design. - Implement color grada on in a design to dis nguish similar but dierent elements.
Propor on is defined as the size rela onships between elements (parts) and the visual composi on or space (whole). Scale refers to the size of a shape in rela on to a given known, in most cases, the human body and its posi on within space. The Golden Sec on: a mathema cal formula where an object’s width is to its length is to the sum of its length plus width. Fibonacci Sequence: a series of numbers where each number in the sequence is the sum of the two proceeding numbers. Le Modulor: is an anthropometric scale of propor ons devised by the Swiss-born French architect Le Corbusier (1887–1965). It was developed as a visual bridge between two incompa ble scales, the imperial and the metric system. It is based on the height of a man with his arm raised. Anthropometrics: is the study of the average human body dimensions and measurements. Tips: - Using a grid system can provide a more accurate method for establishing rela ve color propor ons in the ini al planning stages of the design process. - Scale and propor on can enhance and alter the visual percep on of our environment. - Natural color forms can be iden fied for establishing rela ve propor ons and can then be translated into interior projects. - Using shape grammar with three - dimensional studies opens a window for exploring the color propor ons in the built environment.
0.09 Color + My Camera
Photography is the science, art and prac ce of crea ng durable images by recording light or other electromagne c radia on, either electronically by means of an image sensor, or chemically by means of a light-sensi ve material such as photographic film. Typically, a lens is used to focus the light reflected or emi ed from objects into a real image on the light-sensi ve surface inside a camera during a med exposure. With an electronic image sensor, this produces an electrical charge at each pixel, which is electronically processed and stored in a digital image file for subsequent display or processing. Learning objec ve: - Observe the light, the colors, the textures, how things are in contact with each other... how they contrast ... how they compliment. “Photography is the art of capturing the beauty of life, the act of crea ng the moment.”
0.10 Color + Hospitality
Mondrian Hotel Learning Objec ves: - Understand that using color in conjunc on with line, shape, texture, and pa ern gives the designer the capacity to add visual s muli and create a variety of experiences for the users of the built environment. - Iden fy how color and variety are used in hospitality environments.
About Mondrian South Beach - 2008 Designer: Marcel Wanders “Conceived as Sleeping Beauty's castle with a mesmerizing view over Biscayne Bay in Miami Beach, it welcomes guests into a magical world of wonder and style”. Radiant sensuous furnishings, unexpected manga faces , oversized brass bell-shaped chandeliers and an iconic black floa ng metal staircase that gives the impression that curls up endlessly. Ra ng:
1100 West Ave, Miami Beach, FL 33139
Lobby Color and Line Line is the connec on between two points in space. The floa ng metal staircase cascades into a curl that give theimpression that is endless while indica ng linear movement. The user’s eyes are then forced to follow the railing (curve).The space however lacks rec linear shapes in order to create a more drama c experience. Color and Shape Shape is the result of on or more lines connec ng to form a two-dimensional image. Cuved/organic shapes can be found all throughout the space, from the sea ng to the pa ern on the floors. These shapes elude to baroque architecture and give a touch of femininity and elegance. Color and Texture Texture is the characteris c visual and tac le quality of the surface of a material resul ng from the way in which the materials are constructed or combined together. The majority of the textures found in the space are smooth, sharp, etc. to contrast the strong features found throughout the space. Color and Pa ern Pa ern is the repe ve arrangement of shapes and colors in a systema c sequence. Baroque style pa erns designed by Marcel Wanders can be found in many surfaces but mainly the glossy black and white les in front of the recep on.
Sunset Lounge The outdoor area is a con nua on of the impressive lobby furnished with bespoke pieces, including iconic New An que chairs, all-white milled tables, tall green cabanas and sea ng islands with large cushions and outdoor curtains. Color and Line Rec linear shapes can be found in the white exposed canopy that creates a whimsical structure that frames the most drama c sea ng arrangement found in this space, filled with bright red furniture in order to provide luxury in the most unexpected design. Color and Shape The exaggerated green cabanas have a curved structure that envelopes the sea ng and promote a relaxing experience. Color and Texture The green gazebo lounges provide natural texture that makes the user feel as if they are enveloped by nature. Smooth white surfaces are used to contrast all the other drama c elements. Color and Pa ern Baroque style red pa erns designed by Marcel Wanders can be found throughout the space in many surfaces in order to create a complex over the top space and a drama c experience.
0.11 Color + Workplace
Pandora Learning Objec ves: - Understand that using color in conjunc on with line, shape, texture, and pa ern gives the designer the capacity to add visual s muli and create a variety of experiences for the users of the built environment. - Iden fy how color and variety are used in WORKPLACE environments.
Line
Line is used in a millwork wall that features abstracted images of famous musical ar sts from different periods and genres. The regular intervals of carefully shaped wood slats reduces each image to ver cal stripes. The viewer’s perspec ve and distance allows to see both the image and an abstract representa on.
Texture
Texture can be found in a wood wall located in the second floor as well as a translucent crystal pa ern. The client wanted to expose as much of the historical construc on of the exis ng building as possible. The beams, columns, and floors were all stripped down to reveal their natural state, expressing a richness of textures and tectonics.
Shape and Pa ern
The north and south sides of the floor plate are iden fied by a color and each one is populated by faceted glass shapes that provide private mee ng spaces for a relief from the ac vity of the open areas. These shapes invite mul ple paths of movement around them that encourage casual interac on.
Pa ern can be found in the colored glass enclosures. The glass is peppered with a dot-matrix graphic pa ern that helps define the surface of the volume and also provides different degrees of visual privacy.
Details
s
o
Texture
Pa ern
Line
Shape
0.12 Color + Culture
Cuba - Russia Learning Objec ves: - Have developed knowledge of the historical, cultural, and symbolic meanings of color. - Understand that religious, poli cal, and social values shape color symbolism and meaning. - Understand that color planning should consider cross-cultural dierences.
Cuba
marrón rojo naranja amarillo verde azul cielo azul azul marino rosa púrpura
коричневый красный оранжевый жёлтый зелёный голубой синий тёмно-синий розовый фиолетовый
blanco
белый
gris
серый
negro
чёрный
Russia
Cuba
The Cuban culture is a complex mixture of African, European and indigenous American inuences. The streets are ďŹ lled with bright warm colors also found throughout the Caribbean. High contrast o en symbolizes diversity and creates a more cheerful atmosphere that goes hand in hand with the lively music and beau ful architecture of the island. The most common colors are orange, green, and yellow that symbolize warmth, nature, and joy.
Russia
The biggest country in the world with a fascina ng culture. One of the most common colors is red which in Russian has the same root as the word beau ful; o en found in tradi onal clothing and their famous Matryoshka (nes ng dolls). Blues and purples are also very common which symbolize elegance, calm, and their cold temperatures.
IND 5325 Camilo Pena Color Theory and Application for the Built Environment